AVATARSquarespace V5 Site Server v5.13.281 (http://www.squarespace.com)kevinvernacular_sampleenv_01.1_resize.jpghttp://www.benprocter.com/picture/kevinvernacular_sampleenv_01.1_resize.jpg?pictureId=8067125<div> <div> <p>Supervising art director and all-around design genius Kevin Ishioka developed a standard Hell's Gate column/wall scheme in pencil drafting. He imagined the mechanical elements to be fabricated from a future polymer. I built Kevin's system in 3D and elaborated it with additional piping and conduit systems, dressing modules, etc.. This rendering shows the system employed in a variety of architectural conditions.</p> </div> </div>kevinvernacular_pipesystemmarkup.1_resize.jpghttp://www.benprocter.com/picture/kevinvernacular_pipesystemmarkup.1_resize.jpg?pictureId=8073907<div> <p>A technical overview of Kevin Ishioka's standard Hell's Gate column/wall scheme. The level of thought put into the components and their function is typical of what Jim expected for all Avatar designs.</p> </div>opscenterplatform_heroview_bp092206_resize.jpghttp://www.benprocter.com/picture/opscenterplatform_heroview_bp092206_resize.jpg?pictureId=8067144<p><a href="http://www.jamesclyne.com">James Clyne</a> did a number of great overall&nbsp;studies of the OpsCenter, but Rick asked me to detail out a more finished version of many tech components of the room. I began by focusing on the central platform with its technologized soffit, holo table, and side workstations, which I posited as rotating spherical display consoles. Flows of conduit from soffit to ceiling were designed, as explicitly requested by Rick, to visually suggest a tree, making the Ops platform a technological cousin of Hometree but networked for a different and darker purpose.</p>opsconsole_01.1_resize.jpghttp://www.benprocter.com/picture/opsconsole_01.1_resize.jpg?pictureId=8067145<p>My first proposal for an immersive spherical station had rear imaging surfaces which could rotate out of the way for entry/egress. Partly the idea was that supervisors could interact directly with the back surfaces of the rear display. These were deemed unnecessary and impractical, probably for the best!</p>opscenterplatform_gloverviews_bp092506.page_resize.jpghttp://www.benprocter.com/picture/opscenterplatform_gloverviews_bp092506.page_resize.jpg?pictureId=8067143<p>Overviews of my early Ops platform concept model. On the HoloTable, Rick wanted a sense of layered, connected data, and here I explicitly showed color-coded layers which can be slid up and down, expanded and compressed, each with a different dataset relating to the volume of space being studied.</p>ops_holotable_02.1_cropprint_resize.jpghttp://www.benprocter.com/picture/ops_holotable_02.1_cropprint_resize.jpg?pictureId=8067131<p>An early look study for the HoloTable's graphics. The final designs, by<a href="http://skul4aface.blogspot.com/"> Aaron Beck</a> and Leri Greer, were far superior!!</p>025_010_153p.jpghttp://www.benprocter.com/picture/025_010_153p.jpg?pictureId=8111086<p>Ops platform and HoloTable graphics as they appear in the film.</p>avatar_43.jpghttp://www.benprocter.com/picture/avatar_43.jpg?pictureId=8111089<p>Spherical workstation in film.</p>ops_floorheightrevisions_rough_bp070413.8_resize.jpghttp://www.benprocter.com/picture/ops_floorheightrevisions_rough_bp070413.8_resize.jpg?pictureId=8067126<p>The capture volume on Avatar allowed for virtual set scouting, where Jim could use mocap performers and his virtual camera to actually test-shoot scenes in live action set designs, testing them out, long before construction. For Ops, Rick had me work with <a href="http://www.barrit.com/portfolio/">Len Barrit</a> to develop a realtime 3D model of the set based on preliminary geo and artwork by <a href="http://www.jamesclyne.com">James Clyne</a> and Victor Martinez. The walkthrough/test of this model was a big success, and in fact much of the detail I'd added into texture maps went straight into the real set design pipeline. Was a big eye opener re: using lo-res textured models as a design tool.</p>ops_floorheightrevisions_rough_bp070413.9_resize.jpghttp://www.benprocter.com/picture/ops_floorheightrevisions_rough_bp070413.9_resize.jpg?pictureId=8067129<div> <p>The capture volume on Avatar allowed for virtual set scouting, where Jim could use mocap performers and his virtual camera to actually test-shoot scenes in live action set designs, testing them out, long before construction. For Ops, Rick had me work with&nbsp;<a href="http://www.barrit.com/portfolio/">Len Barrit</a>&nbsp;to develop a realtime 3D model of the set based on preliminary geo and artwork by&nbsp;<a href="http://www.jamesclyne.com">James Clyne</a>&nbsp;and Victor Martinez. The walkthrough/test of this model was a big success, and in fact much of the detail I'd added into texture maps went straight into the real set design pipeline. Was a big eye opener re: using lo-res textured models as a design tool.</p> </div>ops_soffitdetailingref_bp070426.3_resize.jpghttp://www.benprocter.com/picture/ops_soffitdetailingref_bp070426.3_resize.jpg?pictureId=8067139<div> <p>The capture volume on Avatar allowed for virtual set scouting, where Jim could use mocap performers and his virtual camera to actually test-shoot scenes in live action set designs, testing them out, long before construction. For Ops, Rick had me work with&nbsp;<a href="http://www.barrit.com/portfolio/">Len Barrit</a>&nbsp;to develop a realtime 3D model of the set based on preliminary geo and artwork by&nbsp;<a href="http://www.jamesclyne.com">James Clyne</a>&nbsp;and Victor Martinez. The walkthrough/test of this model was a big success, and in fact much of the detail I'd added into texture maps went straight into the real set design pipeline. Was a big eye opener re: using lo-res textured models as a design tool.</p> </div>ops_soffitdetailingref_bp070426.6_resize.jpghttp://www.benprocter.com/picture/ops_soffitdetailingref_bp070426.6_resize.jpg?pictureId=8067140<div> <p>The capture volume on Avatar allowed for virtual set scouting, where Jim could use mocap performers and his virtual camera to actually test-shoot scenes in live action set designs, testing them out, long before construction. For Ops, Rick had me work with&nbsp;<a href="http://www.barrit.com/portfolio/">Len Barrit</a>&nbsp;to develop a realtime 3D model of the set based on preliminary geo and artwork by&nbsp;<a href="http://www.jamesclyne.com">James Clyne</a>&nbsp;and Victor Martinez. The walkthrough/test of this model was a big success, and in fact much of the detail I'd added into texture maps went straight into the real set design pipeline. Was a big eye opener re: using lo-res textured models as a design tool.</p> </div>ops_soffitdetailingref_bp070426.1_resize.jpghttp://www.benprocter.com/picture/ops_soffitdetailingref_bp070426.1_resize.jpg?pictureId=8067137<div> <p>The capture volume on Avatar allowed for virtual set scouting, where Jim could use mocap performers and his virtual camera to actually test-shoot scenes in live action set designs, testing them out, long before construction. For Ops, Rick had me work with&nbsp;<a href="http://www.barrit.com/portfolio/">Len Barrit</a>&nbsp;to develop a realtime 3D model of the set based on preliminary geo and artwork by&nbsp;<a href="http://www.jamesclyne.com">James Clyne</a>&nbsp;and Victor Martinez. The walkthrough/test of this model was a big success, and in fact much of the detail I'd added into texture maps went straight into the real set design pipeline. Was a big eye opener re: using lo-res textured models as a design tool.</p> </div>opswallsint_resize.jpghttp://www.benprocter.com/picture/opswallsint_resize.jpg?pictureId=8067147<p>Wall texture for the realtime Ops model. This version combines tech detailing with handpainted lighting.</p>opsfloor_int_resize.jpghttp://www.benprocter.com/picture/opsfloor_int_resize.jpg?pictureId=8067146<div> <p>Floor texture for the realtime Ops model. This version combines tech detailing with handpainted lighting. Octagon squashed in UV space only.</p> </div>opsceilingupper_nolighting_resize.jpghttp://www.benprocter.com/picture/opsceilingupper_nolighting_resize.jpg?pictureId=8067142<div> <div> <p>Ceiling texture for the realtime Ops model. This version is purely tech detailing with no lighting overlay. Octagon squashed in UV space only.</p> </div> </div>hellsgatebacking_noshuttle_night_resize.jpghttp://www.benprocter.com/picture/hellsgatebacking_noshuttle_night_resize.jpg?pictureId=8067121<p>For the view outside the realtime Ops windows, I rendered a rough spherical backing template based on Hell's Gate ext geo, and <a href="http://www.jamesclyne.com">James Clyne</a> painted it up to look like a proper scenic backing. This is my quickly-done "nighttime" version of Jame's paintover.</p>ops_materialssheet_photoref_combo_resize.jpghttp://www.benprocter.com/picture/ops_materialssheet_photoref_combo_resize.jpg?pictureId=8067135<p>As part of my close work with Kevin Ishioka, I often had to do material breakdowns for sets. This usually involved special renderings of my camera views, color-coded to photographic sample sheets like this one. It's rare that a set can include as many true raw materials as seen here, but having a target is great for the painters to pick their palette with. And on Avatar, more real machined metal was used than I ever would have expected!</p>consolesystem_holotable_bp070308_resize.jpghttp://www.benprocter.com/picture/consolesystem_holotable_bp070308_resize.jpg?pictureId=8067111<div id="_mcePaste">Final concept for the HoloTable base. Imaging emitters would be later added to the central plane by Tex Kadonaga. All the high-tech consoles and desks for the Ops Center were fabricated in Los Angeles under the direction of <a href="http://www.seanhaworth.com">Sean Haworth</a>, and shipped to NZ for shooting.</div>consolesystem_immersivestation_bp070312_resize.jpghttp://www.benprocter.com/picture/consolesystem_immersivestation_bp070312_resize.jpg?pictureId=8067112<div> <div id="_mcePaste">The spherical workstation in a more final form. All the high-tech consoles and desks for the Ops Center were fabricated in Los Angeles under the direction of&nbsp;<a href="http://www.seanhaworth.com">Sean Haworth</a>, and shipped to NZ for shooting.</div> </div>consolesystem_wip_mroverviews_bp070222.9_wip_resize.jpghttp://www.benprocter.com/picture/consolesystem_wip_mroverviews_bp070222.9_wip_resize.jpg?pictureId=8073902<div> <div> <div id="_mcePaste">The spherical workstation and Ops core platform in a more final form. All the high-tech consoles and desks for the Ops Center were fabricated in Los Angeles under the direction of&nbsp;<a href="http://www.seanhaworth.com">Sean Haworth</a>, and shipped to NZ for shooting.</div> </div> </div>ops_immersivechair_v01_bp070220_resize.jpghttp://www.benprocter.com/picture/ops_immersivechair_v01_bp070220_resize.jpg?pictureId=8073904<p>Spherical workstation chair. Quick sketch but the fabricators matched it with an amazing level of accuracy!</p>consolesystem_foremanstation_bp070312_resize.jpghttp://www.benprocter.com/picture/consolesystem_foremanstation_bp070312_resize.jpg?pictureId=8067108<div> <div> <div id="_mcePaste">A hero "foreman" remote operator console, which was to be a beefed-up variant on the spherical workstation. Beefy add-ons based in part on an earlier <a href="http://www.jamesclyne.com">James Clyne</a> sketch. All the high-tech consoles and desks for the Ops Center were fabricated in Los Angeles under the direction of&nbsp;<a href="http://www.seanhaworth.com">Sean Haworth</a>, and shipped to NZ for shooting.</div> </div> </div>consolesystem_foremanstation_altview_bp070309_resize.jpghttp://www.benprocter.com/picture/consolesystem_foremanstation_altview_bp070309_resize.jpg?pictureId=8067105<div> <div> <div> <div id="_mcePaste">A hero "foreman" remote operator console, which was to be a beefed-up variant on the spherical workstation. Beefy add-ons based in part on an earlier&nbsp;<a href="http://www.jamesclyne.com">James Clyne</a>&nbsp;sketch. All the high-tech consoles and desks for the Ops Center were fabricated in Los Angeles under the direction of&nbsp;<a href="http://www.seanhaworth.com">Sean Haworth</a>, and shipped to NZ for shooting.</div> </div> </div> </div>consolesystem_vehiclecontrols_bp070419_v2_notextforstefan_resize.jpghttp://www.benprocter.com/picture/consolesystem_vehiclecontrols_bp070419_v2_notextforstefan_resize.jpg?pictureId=8067115<div> <div> <div> <div id="_mcePaste">The standard remote operator console, my detail pass based heavily on 3D work by Scott Baker. All the high-tech consoles and desks for the Ops Center were fabricated in Los Angeles under the direction of&nbsp;<a href="http://www.seanhaworth.com">Sean Haworth</a>, and shipped to NZ for shooting.</div> </div> </div> </div>consolesystem_wip_mroverviews_bp070215.6_print.jpghttp://www.benprocter.com/picture/consolesystem_wip_mroverviews_bp070215.6_print.jpg?pictureId=8100004<p>Standard data management / operations station.</p>consolesystem_wip_mroverviews_bp070215.4_print_resize.jpghttp://www.benprocter.com/picture/consolesystem_wip_mroverviews_bp070215.4_print_resize.jpg?pictureId=8067117<div> <div> <div> <div id="_mcePaste">A bank of standard remote operator consoles, back panel detailing based in part on an earlier&nbsp;<a href="http://www.jamesclyne.com">James Clyne</a>&nbsp;sketch. All the high-tech consoles and desks for the Ops Center were fabricated in Los Angeles under the direction of&nbsp;<a href="http://www.seanhaworth.com">Sean Haworth</a>, and shipped to NZ for shooting.</div> </div> </div> </div>consolesystem_openstation_front_bp070320_resize.jpghttp://www.benprocter.com/picture/consolesystem_openstation_front_bp070320_resize.jpg?pictureId=8067113<p>Simple console variant with touchscreen desk surface.</p>armorbay_sketchover_v02_release01_bp070615_resize.jpghttp://www.benprocter.com/picture/armorbay_sketchover_v02_release01_bp070615_resize.jpg?pictureId=8067104<p>Many people worked on the ArmorBay AMPsuit maintenance docks, including <a href="http://www.jamesclyne.com">James Clyne</a>, Victor Martinez, Sam Page, and others. I was lucky to come in toward the end, so this paintover detailing pass looks pretty similar to what's in the movie.</p>utilidor_airlock_notatedsketchover_bp070623_interfacewall_resize.jpghttp://www.benprocter.com/picture/utilidor_airlock_notatedsketchover_bp070623_interfacewall_resize.jpg?pictureId=8067151<p>Standard airlock for Hell's Gate entry and egress. The level of thought put into the components and their function is typical of what Jim expected for all Avatar designs.</p>utilidor_airlock_notatedsketchover_bp070623_lockerwall_resize.jpghttp://www.benprocter.com/picture/utilidor_airlock_notatedsketchover_bp070623_lockerwall_resize.jpg?pictureId=8067152<div> <p>Standard airlock for Hell's Gate entry and egress. The level of thought put into the components and their function is typical of what Jim expected for all Avatar designs.</p> </div>utilidor_airlock_wiprender_bp070623.2_resize.jpghttp://www.benprocter.com/picture/utilidor_airlock_wiprender_bp070623.2_resize.jpg?pictureId=8067153<div> <p>Standard airlock for Hell's Gate entry and egress. The level of thought put into the components and their function is typical of what Jim expected for all Avatar designs.</p> </div>utilidor_airlock_wiprender_bp070623.5_resize.jpghttp://www.benprocter.com/picture/utilidor_airlock_wiprender_bp070623.5_resize.jpg?pictureId=8073905<div> <p>Standard airlock for Hell's Gate entry and egress. The level of thought put into the components and their function is typical of what Jim expected for all Avatar designs.</p> </div>